Local electropop duo expanded their stage presence for the new single “Don’t Act Like a Stranger”, the byproduct of artists going their separate ways, having polar experiences of the heart, and reconvening to continue creating. It glitters brightly with Jenkin’s vocals while a dark velvet ribbon runs through the core. The sounds flow into other tracks like “Want My Love”, one of my personal favorites for the rich opposition Jenkins and Hwin string across the venue. The popular “OOO AAA” and “Harlem” off their 2014 debut EP are like popping a syrup centered candy on your tongue. You anticipate and know this overflowing intensity will gradually release, will overpower you in slow motion, and you will love every dripping moment of it.

The Mezzanine Thursday night was full of half-buns, septum rings and decorative animal ear headbands while posh city kids came out in full swing to absorb the entire evening, especially the opening bands. Oddly enough, the venue had nearly emptied by the conclusion of Cathedral’s set, perhaps due to the well mirrored opening bands that matched, but maybe too well.

Ritual of Mine, another CA born collection of electropop aliens with various parts of their scalps shaved who draw inspiration from 90’s hip hop, trip-hop, and the likes of Mars Volta. In transition they created ‘Devoted’ (September 2016) which stood in reverence to the death of family, the loss of heart, and the emotionality of grief. In testament, Lopez shared that “playing is what makes the days better” following this “weird year” she’s survived. This reality comes across in her voice, measurably sharper and with more fury than the recorded versions heard on “Armor” or “Your Girl”. Listen to “Devoted” or any of the remixes well-known artists have spun, to get a sense for the schizophrenic cigar smoke that is Ritual of Mine, something thick and heavy it chokes you but you crave to continue breathing. Something you can’t make sense of because you clearly don’t know what they do. Yet you cannot question or disagree with a fraction of it.

Yassou had been tasked with setting the mood, and just going to their website will demonstrate the perfectly accomplished feeling of femininity, creativity and delicate brutality. Each track calls an elaborate video home, and each are stunning. Recently relocated to SF, Lilie Hoy entrances as she moves like pieces of glass on marionette strings, emanating a tide pool clear sound that is both a whisper and a yell. They’ve presented their work before the Louisville Ballet, accompanied by full symphony and choreographed ballerinas. If that doesn’t prove defiance of traditionalism, I don’t know what is. Load up “Fall Again” (2017) to hear the translucent voice before a studded soundscape or “Back Roads that Dead End” (2013) to experience a chandelier crashing slowly down into your brow, fully aware of each encroaching inch of glitter and glass.